Tag: alternative

For years now, Tokyo’s Spool has been readying itself for a breakout. The all-female four-piece, which has become affectionately referred to as “Japan’s Warpaint”, has been a massive draw in its local scene, garnered attention from music fans overseas, and put out a handful of quality releases both in Japan and internationally. The announcement late last year of its self-titled debut full-length felt like a statement that Spool was ready to establish itself among the elite of the Japanese indie scene.

The Warpaint comparison almost feels lazy, but it makes sense. The shoegaze tag fits as well as the various comps to bands like The Smashing Pumpkins, Sonic Youth, and My Bloody Valentine, but each only to a certain extent. On the album Spool pulls a bit from the edgier side of 90s US alternative music as well as the dreamy UK melancholy and fuzzy guitar walls that have the band seated comfortably in the Japanese shoegaze scene. It’s a total throwback to everything that rules about 90s music. Spool has really keyed in on that general concept and written exceptional songs around it.

There are some familiar songs on the record, with “Springpool” and fan favorite “Sway, fadeaway” joining the stunningly shoegazey lead single “Be My Valentine” in getting beefed up new versions courtesy of producer and magic love drummer Kazuaki Kondo. Lead track “nightescape” is a dark, dreamy number turned absolute belter that, along with my personal favorite song on the album, “Let Me Down” really showcases frontwoman Ayumi Kobayashi’s range. The deep, breathy vocals in the verses on the latter, in particular, are teeming with attitude and there’s something quietly powerful about them as they trade off with the sad, raw chorus line.

Overall, the shoegaze influence on the album is perhaps stronger than expected, highlighted by gloomy, thickly textured tracks like “Winter” and “Morphine”. “Blooming in the Morning” adds a little dream pop into the mix as well, softening a bit of the album’s edge with some bouncy sweetness. The closer, “No, thank you”, which is a more cleanly mixed version than the one that appeared on last year’s Total Feedback 2018, wraps up the album with a blistering guitar attack and distorted vocals.

Expectations were high coming into the full length debut, and the band delivered. Though Spool’s influences are by no means unique in the current Japanese scene, the way in which they are able to put them together and really balance their sound over the course of the record is. The ability for a band to wear its influences on its sleeve without bottle-necking itself and at the same time maintaining some cohesiveness over the course of an album is something to appreciate. Spool has done it here.

When Osaka indie-rock shoegaze band Acidclank popped up in 2015 with its debut album, Inner, the band showed a tremendous versatility in sound. The record essentially felt like a lo-fi exploration of 90s UK indie music, drifting from shoegaze to psych to pop. On each of the two singles that followed, the band continued to give different looks into its wide range song-writing capabilities. Acidclank’s latest full-length effort, Addiction, is more of the same, drawing on a variety of influences and styles, but featuring enough consistent elements that it never feels weird or disjointed.

There are some familiar titles in the track list, including a buffed up version of “Clever” from Inner and both of the singles that were released last year. Just like the first album, Addiction features some very shoegazey tunes, highlighted by “Turning” and the very Loveless-inspired “Sleepwalk”. On songs like “Wrong” and the aforementioned “Clever” Acidclank delivers some noisy but danceable indie rock, while “Disease” feels like a nod to Death Cab’s Transantlanticism. Throughout the album, you get a lot of different but high-quality looks, as the band has shown a knack for consistently crafting catchy, well-written songs. But Addiction really shines when it gets super trippy, particularly on “This Time” and “Overdose”. The former has a very Dark Side of the Moon vibe to it with a slow-paced, steady groove setting the foundation for layers of spaced out guitars and reverb-soaked vocals. “Overdose” is pacier, more of a free-form psych track with guitars, atmospheric synths, and harmonized vocals all blanketed over a droning bass line, waxing and waning in intensity. While the album as a whole is consistently very good, these two tracks are the standouts.

Addiction CD versions can currently be found on Amazon is currently available on most streaming platforms. You can purchase it via iTunes as well, and an LP version is due out at some point in the next month. You can also check out some of their earlier work at Bandcamp.

Tokyo’s Luby Sparks is back with its second release of the year, a four-track EP titled “(I’m) Lost in Sadness”. The EP, which was produced by Yuck’s Max Bloom , is Luby Sparks’ first release since bringing in new vocalist Erika Murphy. With the band’s sweet melancholy still present, the new music takes a turn toward a more shoegaze sound, something that was hinted at with the release of hazy lead single “Perfect” last week. “Cherry Red Dress” is a stunning, moody dream pop tune and the title track is an epic seven minutes of layered guitars and well-harmonized twin vocals. The EP wraps up with a heart-wrenching cover of haunting Mazzy Star number “Look On Down From The Bridge”. While Luby Sparks’ self-titled debut full length effort from earlier this year is still sitting comfortably at the top of my 2018 release list, “(I’m) Lost in Sadness” hits home in a bit of a different way, showcasing the band’s ability to craft gloomy, nostalgic tunes using tremendous depth and texture. And while the loss of original Luby Sparks singer Emily was sad news, Murphy has shown she’s a perfect match for what the band does. These guys continue to show that they can write songs with the best of them with yet another top notch release to their name.

“(I’m) Lost in Sadness” is available to stream on Apple Music and can be purchased on iTunes or via Amazon (JP). Below is the video for “Perfect”.

Legendary Japanese shoegaze/alternative/metal outfit Coaltar of the Deepers came out of nowhere yesterday at around 7pm with a massive announcement that their first new music in about seven years would be released at midnight. The news came roughly six months after the band’s core member NARASAKI cryptically Tweeted that he was working on Deepers music again. The track, titled “SUMMER GAZER ’92”, is the first single off the upcoming “Rabbit E.P.”, which will be out in November. Both announcements were initially made via NARASAKI’s newly formed label U-desper Records.

The announcement of a new Deepers single a mere five hours prior to its release was pretty jolting considering there was no real reason to believe we’d get any new material from one of Japan’s most well-known and influential cult acts. NARASAKI has been incredibly active over the years writing and producing for a bunch of different artists while also creating music for various anime. However, the new was unsurprisingly well-received, with “SUMMER GAZER ’92” at one point reaching as high as number 2 on the iTunes song charts on the day of its release.

The song itself was initially described by U-desper Records as a (loosely translated) “hot summer tune for summer lovers”, and with its warm, groovy sound that feels pretty accurate. “SUMMER GAZER ’92” has something of a mellow, jazzy samba vibe, relying on a dreamy swirl of instrumental and vocal textures and a more subtly developing intensity than the in-your-face chaotic sound that Deepers is perhaps better known for. Though it might not be what people expect, it’s a really solid return to action for a very important band and a preview of what is easily now the most anticipated Japanese shoegaze release of 2018.

“SUMMER GAZER ’92” is currently available for purchase on iTunes worldwide. Follow U-desper Records on Twitter for updates regarding the “Rabbit E.P.” release.

Tokyo’s Yukla Down put out their first record material in the form of a three-track demo EP titled “In Demonstrationem”. The five-piece, whose lineup includes a member apiece from Si,Irene and Civic, offers a throwback 90s UK shoegaze sound that isn’t all that common in the Japanese scene. It’s pleasantly scuzzy introduction, particularly on the first track, “Torture Me (With Your Kiss)” which sounds both nominally and tonally like something off of Isn’t Anything, but with a turn of the century American emo tinge to it that’s pretty cool. “If You Only Knew” is another textural ripper of a song with more of a groove carrying along the cascade of harsh guitar noise, while “Borealis” is a chilled-out instrumental featuring droning guitars and a simple bongo-tapped beat.

While I don’t bemoan the lack of aggression in Japanese music nearly as much as I used to, I really appreciate Yukla Down’s noisy contributions. The quality of the demo, in terms of both sound and composition, is really solid. The band will be appearing at the July 29th Total Feedback event at Koenji High. For more information you can follow Yukla Down on Facebook and Twitter.

This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano. Follow the links below for event info and ticket reservations.

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan. This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December. The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer. I will be previewing each of the events as they come. This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano. Follow the links below for event info and ticket reservations.

Honeydew

Honeydew is a Tokyo-based alt rock power trio. Originally formed in New York, the band’s sound is influenced by a number of 90s American alternative bands, and versatile enough to appeal to a wide range of fans. Their live performances are ultra-tight, and their high-energy performances are absolutely must see.

me in grasshopper

With members based between the Kansai and Tokai regions of Japan, it’s only fitting that me in grasshopper will be performing at Daydream events in both Kyoto and Nagoya. Over the past few years the band has become one of the flag bearers for the Nagoya shoegaze scene on the strength of their sweet melodies and subtle yet persistent guitar noise. Their 2015 “NEW SATURDAY e.p.” was one of the best of the year. In 2016 the band supported YUCK on their Japan tour, and they will be supporting Brooklyn’s Lazyeyes in Nagoya in January.

Yuragi

Hailing from Shiga prefecture, Yuragi is yet another young, exciting band to emerge from the Kansai-region over the last couple years. Their sweet but strong sound incorporates whispy vocals and big wall of sound guitars driven by uptempo pop beats. 2016 has been a big year for the band with the release of their “bedside” single and the announcement of their upcoming “nightlife e.p.”, which will be out on 12/27. They’ve also announced they will be supporting Lazyeyes on the New Yorkers’ Japan tour.

Acidclank

Acidclank is another one of those exciting young Kansai bands. The Osaka indie rock outfit put out a really impressive album titled nner in 2015, on which they demonstrated their ability to create a range of sounds from shoegaze to psych at a consistently high level. Once a home recording project, Acidclank is now a fully functioning live band that has been gigging a ton over the last year or so. These guys have a bright future ahead of them.

ether feels

There are few active shoegaze bands in Japan that have put out as much consistently good material as Ether Feels. Their melancholy blend of pop and shoegaze has resulted in a sound that is all their own, and their quality has earned them a good amount of attention outside of their home country. Their Daydream performances will wrap up a busy year that’s included gigs around Asia, the release of a greatest hits album titled hen The First Time We Met and an upcoming split EP with Yukino Chaos.

日本でEther Feelsほど、コンスタントに良い楽曲をシーンに提供してきたバンドはそういないだろう。彼ら独自のポップとシューゲイズのメランコリーな配合は、日本国外でも注目を集めてきた。DAYDREAMでのパフォーマンスは、アジア各地でのライブ、ベストオブアルバムhen The First Time We Metのリリース、Yukino ChaosとスプリットEPの共同リリース、と忙しい年の有終の美を飾るだろう。

twelve fluffy chair

Local band Twelve Fluffy Chair offers a sparkly brand of shoegaze pop. The Kyoto foursome recently released their second EP B A R, which features some cute guitar-driven pop tracks. Their strength lies in their ability to write ultra catchy choruses and melodic hooks, as well as adding a little edge to otherwise light, playful songs.

boyfriend’s dead

Boyfriend’s Dead is a Kansai-area shoegaze veteran and a band that adds an element of fun to any gig they play. Their sound is an upbeat, danceable blend of shoegaze and pop, and their energy and stage presence makes for a great live show. The band’s most recent release came in the form of a self-titled EP released on local Osaka-based netlabel Thru The Flowers.

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya. Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere.

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya. Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere. Bands like Tokenai Namae and me in grasshopper are the flag bearers for the genre in the Tokai region, and there’s enough of a fanbase to support it – the 2013 Japan Shoegazer Festival in Nagoya sold out Tsurumai Day Trip – but even here the scene is mostly driven by bands from Japan’s two largest cities. Occasionally, however, a new band does pop up, as was the case last year with the emergence of Anjo-based Haguki. This year’s impressive newcomer to the Nagoya shoegaze scene goes by the name Softsurf.

Softsurf started up in January of 2016, and largely went unnoticed until July, when they took part in the Nagoya Shoegazer Expo event in Tsurumai. Shortly thereafter, their two-track single “Blue Swirl/Beautiful Day”, was released for free. Under founding member and band leader Kitamura, they underwent some lineup changes before settling in and focusing on gigging more. Though the band’s members are each influenced by a number of genres and styles, Kitamura’s vision is largely focused on 90s shoegaze. He does admit, however, that bands like Pink Floyd and the Beach Boys have naturally worked their way into his sound (and in the case of the latter, into the band’s name as well).

Each track on Softsurf’s single offers something a little different, sound-wise. “Beautiful Day” is more of a twinkling pop tune that floats along, whereas “Blue Swirl” hits hard with a blend of big guitars and airy synths. “Blue Swirl” is the track that the band has chosen to push on their Soundcloud page, and based on Kitamura’s stated creative goals, it would seem to be more indicative of the band’s future direction. “I like psychedelic and ambient songs with aggressive guitars and vocals that feel like they’re floating,” he explains. “I want to take that and shape it in my own way.”

Reviews of Softsurf’s live performances to this point have been really positive, and the small sample of music made available thus far has been really encouraging. The band will be taking the stage this coming January at Daydream Nagoya, and beyond that they are determined to have an impact on the shoegaze genre in Japan. Next up for Softsurf is a slot on the upcoming Daydream Nagoya bill, and hopefully a lot more shows and music.

Well, it’s finally arrived. The new Kinoko Teikoku album – the second since signing their major label deal with EMI – is here, and fans finally get to find out if the band is continuing on their major label J-pop trajectory or veering back toward the noisy alt rock we fell in love with years ago. While “Neko to Allergy” had listeners resigned to the former, there were a couple of encouraging signs leading up to “Ai no Yukue” that there might be a little more balance this time around.

Well, it’s finally arrived. The new Kinoko Teikoku album – the second since signing their major label deal with EMI – is here, and fans finally get to find out if the band is continuing on their major label J-pop trajectory or veering back toward the noisy alt rock we fell in love with years ago. While “Neko to Allergy” had listeners resigned to the former, there were a couple of encouraging signs leading up to “Ai no Yukue” that there might be a little more balance this time around. There was the impressive lead single, “Crybaby”, a new version of a track from one of their earlier demo EPs, and a brief but impressive glimpse at the album’s title track in the trailer for a new Japanese film. Small sample it may have been, but it was enough to get doubters interested again.

I’ll be honest. I expected to have a lot to say about this album, but I really don’t. It’s really good. It’s not mind-blowing, and it’s certainly not a shoegaze album (some people will have stopped reading at this point). Let’s be real, though. Kinoko Teikoku is a handful of releases removed from that sound. Their final release from UK Project’s Daizawa label, Fake World Wonderland, was the first step toward creative control of the band shifting toward those who favor clean pop tracks to harsh roaring guitars. Well that was two years ago, so it should come as no surprise that Ai no Yukue as a whole is a pop record. But what’s different this time is that they seem to have been willing to meet fans of the old stuff halfway.

The title track is a really good start to the album. It has it all: a gloomy intro, an explosive lead-driven hook, and reverb soaked vocals. It never quite takes off as massively as it feels like it will at times, but that’s sort of a theme for this release. The album’s closer and lead single, “Crybaby” is similar, though a bit more toward the pop end of the spectrum. These are the two best songs on the album, and each showcases an enjoyable balance between the old and the new.

Not far behind them in terms of quality is “Moon Walk”. Kinoko Teikoku haven’t completely strayed from the melancholy sound that works so perfectly with Chiaki Sato’s gorgeous vocals, but when they’ve gone that route recently it’s been far too clean for my taste. “Moon Walk” muddies it up a little bit, specifically in the chorus, and about halfway in fades into a nice tripped out portion through to the finale.

One big surprise when the album’s tracklist was first published was the inclusion of “Azemichi de”, which first appeared on the band’s second demo EP “Yoru ga Aketara”. As expected we basically get a cleaner version of the original. Some of the edge in the chorus has been toned down a bit, but otherwise it’s very similar.

The rest of the album is fine. “Natsu no Kage”, as I mentioned in my previous review, is a Fishmans-esque dubgaze track, while “Last Dance” and “Ame-agari” are both really catchy pop tunes. “Shi ga futari wo wakatsu made” is the only track I couldn’t really get into on the album. These songs are the ones that fans hoping for the old Kinoko Teikoku may scoff at, though percentage-wise it’s a lot less than in recent memory.

I think Ai no Yukue has a lot of really good stuff going on. I like feeling like A-chan is being given more creative freedom, whether or not that’s actually true. We know that Kinoko Teikoku are far removed from their days as one of Japan’s finest alt rock bands, and dwelling on the fact that we’re not going to get another Uzu ni Naru is sort of pointless. But the band taking a step back and mixing in a bit of the old stuff with the new is welcome, and the result is a positive one. We get a very solid pop record with a little bit of the grit and emotion that made us fall in love with the band in the first place. For whatever my opinion is worth, Ai no Yukue was a success.

When I came to Japan and started a blog about Japanese shoegaze music, I almost immediately found the Kansai scene to be the most accessible. I have fond memories of a bunch of bands who were not only really welcoming but also supportive of the blog and zine, especially bands like Lemon’s Chair and Ether Feels. The Japan Shoegazer Festival in Osaka was a very comfortable spot for me, and thanks to the bands and the community that grew around the event I was able to get to know some great folks and learn a lot about the Japanese shoegaze scene.

photo from http://cigaretteinyourbed.com/

When I came to Japan and started a blog about Japanese shoegaze music, I almost immediately found the Kansai scene to be the most accessible. I have fond memories of a bunch of bands who were not only really welcoming but also supportive of the blog and zine, especially bands like Lemon’s Chair and Ether Feels. The Japan Shoegazer Festival in Osaka was a very comfortable spot for me, and thanks to the bands and the community that grew around the event I was able to get to know some great folks and learn a lot about the Japanese shoegaze scene.

One of the bands who really helped me out was Cigarette in your Bed. The band split time between Tokyo and Osaka, though around that time they seemingly played a bit more in Osaka. They were a staple of not only the Japan Shoegazer Festival (in both cities), but the frequently held High Fader Night at Club Vijon in Kitahorie as well.

In addition to being cool dudes, Cigarette in your Bed’s music resonated with me instantly. Their style was really unique compared to a lot of what was going on in the Japanese shoegaze scene. The name conjures the image of a My Bloody Valentine knock-off, but they were far from that. They were far edgier than their peers, drawing as much influence from grunge and 90s alt rock as they did shoegaze. Their live show was dynamic and brutally loud. I’d made it a point to come down to Osaka to see them play whenever I could.

Cigarette in your Bed has come quite a long way since then, releasing their debut full-length Darkness in 2014 via High Fader and playing some big shows, including opening for Astrobrite in 2015, while also starting an event of their own called “THE FUZZ”. The band’s since moved on from their previous scene and found a new home in the Koenji hard rock scene, but with the release of their new Nothing E.P. they’ve shown a dedication to their core sound.

The EP kicks off with “Nothing”, a track that plays like a straightforward rock song blanketed in quivering shoegaze guitars. The verses are decent enough, paced by a steady beat and frontman Kazuya Saijo’s simple vocals, but the song really takes off at the explosive chorus. The repetition of the vocals is pretty similar to “Let Me Out”, giving them an almost instrumental quality that’s secondary to the massive guitar buildup.

“Ghost” is a three-phase track that cuts from a bendy guitar howl of an intro verse not too different from “Nothing” to an overdrive-heavy rehashing of the same. The song feels like three different variations of the same basic line, with the first part being more “gazey” and the second a bit more grunge-y with super distorted vocals. The track winds down in a sort of striped down version of the introduction. It’s a short track, but interesting enough in that the band basically demonstrates its range while never really changing the parts too much.

Finally, “I Don’t Know” gets away from the intensity of the first few tracks, showing off the dreamier side of what Cigarette in your Bed can do. The song basically goes back and forth between a sweet-sounding, reverb-soaked verse and a sort of disorienting few measures of a chorus. The main part is really chilled out and comfy before the guitars spin out for a bit. One other noticeable part of the song that’s a bit different from their previous work and consistent throughout the EP is the complexity of the basslines. The band is showing some maturity with their new stuff, and it should sound even better once the production value picks up.

Overall I’ve enjoyed the EP. It’s just three tracks and they’re pretty simple, but Cigarette in your Bed have always made some really great tracks with a simple approach. Unfortunately for fans of the band overseas it’s going to be tough to get your hands on this, but if you happen to be in the Tokyo or Osaka areas for one of their gigs it’s totally worth it for the show and the goods.

There aren’t even any samples of the music online apart from a few brief clips the band has posted on its Twitter account. You can also buy some merch at their online store and purchase their debut album “Darkness” on Amazon. Here is a video of a live performance of “I Don’t Know” uploaded by Club Kinoto. The recorded version is better, but this will at least give you a bit of an idea. Enjoy!

When I started this blog in early 2012 I was completely in love with Kinoko Teikoku. Just about everything I tweeted was gushing praise of their music, and when I finally moved to Japan that spring it felt like fate that they were playing in Nagoya a mere weeks after I would arrive. Seeing them at Club Rock n Roll is still one of my favorite live experiences ever. Their music was powerful and emotional, and really struck a chord with me.

When I started this blog in early 2012 I was completely in love with Kinoko Teikoku. Just about everything I tweeted was gushing praise of their music, and when I finally moved to Japan that spring it felt like fate that they were playing in Nagoya a mere weeks after I would arrive. Seeing them at Club Rock n Roll is still one of my favorite live experiences ever. Their music was powerful and emotional, and really struck a chord with me.

Fast forward to the spring of 2015, when it was announced that Kinoko Teikoku, whose previous album was extremely hit or miss, I might add, would release their major label debut in the form of a single called “Sakura ga Saku mae ni”. The track wasn’t very good, nor was the subsequent full-length debut “Neko to arerugi”. Kinoko Teikoku had changed, and I was balancing the feeling of being happy that they found success with the disappointment that they seemed to have left behind a majority of the qualities that I, and a growing global fanbase, had come to love. Sure Chiaki Sato’s voice was still gorgeous and the songwriting was fine. What I missed the most was the power and edge that they had done so well that made way for unexciting pop tracks. It didn’t feel right and I was just about done.

It might be the reason I completely missed the news that last week Kinoko Teikoku had released a limited digital single (I’m assuming it’ll only be up for a short period of time) called “Crybaby”. As I do with everything they release, I bought it on iTunes, a sense of apprehension and a little bit of hope that something might be different. I was pleasantly surprised. It’s a pop track, there’s no doubting that. The verses are cute and gentle, and the chorus plays like a melancholy J-pop ballad, but there’s a lot more substance surrounding it. There’s a harshness to the guitar tone that’s returned from Kinoko Teikoku tracks past, and from right around the 3:10 point the song really starts to feel like a throwback to their earlier stuff. There’s even a bit in the buildup to the track’s climax that sounds an awful lot like the intro to fan favorite “Yoru ga Aketara”. In past interviews, A-Chan had been pretty outspoken about her love of 90s alt rock and shoegaze, and their first few releases had really reflected that. In “Crybaby” it feels like there is a perfect balance between Sato’s desire to make pop songs and A-Chan’s affinity for big, edgy guitars.

For the first time in a while I’m really pleased with a Kinoko Teikoku track. If “Sakura ga Saku Mae ni” was the prelude to a bad album, I really hope that “Crybaby” is a sign that things are heading back in the right direction.

The single is currently available on Japanese iTunes, though I’m not sure if there will be plans to release it on the US store. It also appears to be available on Recochoku.jp. Here is a brief teaser that’s been posted on YouTube.